shaheediyan

The Sri Guru Granth Sahib Ji Maharaj is the living embodiment of our sublime Guru's. Guru Ji's word is the path and the transport to take us to our ultimate desire and destination, Vahe-Guru. Page 33, Line 9 ਗੁਰ ਪਰਸਾਦੀ ਛੁਟੀਐ ਬਿਖੁ ਭਵਜਲੁ ਸਬਦਿ ਗੁਰ ਤਰਣਾ ॥੧॥ ਰਹਾਉ ॥ gur parsaadee chhutee-ai bikh bhavjal sabad gur tarnaa. ||1|| rahaa-o. By Guru's Grace you shall be saved. Through the Word of the Guru's Shabad, you shall cross over the terrifying world-ocean of poison. ||1||Pause|| In order to walk this path we need to 1st have complete faith in our Guru, and then we need to give our head to Guru - this means putting Guru's will higher than ours, listening to him, to his instructions, to his advice, to his warnings, to his rules...... Only by listening and obeying to we realise the immense benefits of their wisdom and revelation, those benefits cannot be realised through academic study or relying on our own limited intelligence, anand and mukti cannot only be experienced by submitting to his hukum. Bani gives us questions, it gives us food for thought, it gives us tolernace, it gives us parameters, it gives us equality, it gives us justice, it gives us caveats/warnings, it is the ultimate parent, it prepares us - shows us how to live, how not to live..... Bani gives us inspirtaipon, strength, courage, understanding,compassion, direction, focus.... Bani helps us to become the best we can, to not be hypocrites, to be role models, to consider the affect of our actions on others, to be responsible to be consious, to be fair.... Bani shows how to be artistic, how to praise Akaal Purkh....kirtan.. It shows us the futility of rituals, of manmat (following our own own opinions, understandings and justifications which suit us, rather that those of our Guru's words)... This is just scratching the surface... Those who are blessed enough to be able to have Guru Ji's darshan have all their questions answered, and that is where you will find your answers. Our Guru's through their actions, through their hukumnamai, through giving amrit and creating the Khalsa, through giving us a maryada (rules), through bestowing power to the Granth and Panth have made our lives easier and given us such a lifestyle that enables to completely focus on Guru and hence on Vahe-Guru. We are blessed with thousands of role models and blessed Gursikh who have dedicated their life to Guru and spreading his word, they have instense understandings of our Guru's message, and have further simplified our lives by advising us on how not to get trapped in the web of maya... Rules are not bad if they simplify our lives and help us to battle the 5 thieves. To take Guru Gobind Singh Ji's amrit, we are bound by rules, those of the Khalsa. And it is those rules which Guru Ji has given which help us to live the life and tread the path which Guru Amardaas Ji has described as being fine as a hair and sharp as a sword. The problem with world is not religions and rules, it's those people who don't follow the rules which God has revealed, more to the point, those who think they know better and make their own rules. It is these people which cause war, divisions and confusion, not those faithful to their respective revelations. Vahe-Guru

I don't see the connection between theories of Misledaars dancing and Treh Mudrai? If you want to talk about Kakaar you should start a new thread or look at archives.

Rupz Ji, Don't upset, I am not inciting hatred towards anyone. I have the utmost respect for all faiths (in their puratan form) and effort to learn about them to increase my tolerance and understanding as instructed by my Guru. The point of the video was to show how people are creating new trends and ideas based on their own mat rather than Guru Ji's mat, there is nothing spiritual about men and women dancing together doing boliyaan and bhangra in Guru Ji's hazoori, or people worshioing stone idols when this is totally against Guru Ji's teachings. No one is spreading hate or being a fanatic, this is simply to highlight awareness of what is going on today, and what not to get caught up in. It was also supposed to draw a comparison to bhanra, rap, hip hop etc being discussed and mixed with Gurmat/Sikh discussions (this forum), where Mahapurkhs and Guru Sahibaans holy words are recited. No one is burning up, just highlighting mis-practice in Guru Ji's hazoori. Khalistan, Muslims or Hindus have nothing to do with this discussion, please don't jump to conclusions and go off topic. Beast Ji, What have the 5 kakaar, treh mudrai or my understanding of them got to do with this discussion?

Please check the links I have provided and e-mail your thoughts at the address given. They will provide you with all details. Vahe-Guru

Someone mentioned here mentioned a theory as to the benefit that mixing non-gurmat and trendy things like Bhangra brings to attracting yout towards Sikhi. Aside from Sikhs no having to resport to his process for 480 years, this new manmat stategy will have it's obvious downfalls. When people start replacing gurmat with manmat, things go wrong. Guru's and Gursikhs lead strict lifestyles adhering to gurmat thinking without compromise for a reason, today we think we know better, and think it is time to evolve our Guru's maryada and move on with the times... Below is an example of this happening, incorporating culture and manmat in the name of Guru Ji. This beadbi of dancing around and singing boliyan in the presence of Maharaj certainly attracts people, but for all the wrong reasons. In the old days, people sat in awe oand extremem respect of their Guru, listened, prayed, and joined him in singing kirtan. I know many people that would to ashamed to act like this in front of their parents, let alone their Guru... This takes place in sunny Wolverhampton. http://www.youtube.com/watch?v=aLEw2OJdED8...;search=sikhism

Kelari Ji, I agree with you, the cost is high, and unsustainable over the long run for youth who are eager to learn real kirtan. It's a shame that there are not people there who would sponsor these blessed children. Prof Surinder Singh Ji has a set up an affordable learning structure for all age groups here providing full 7 day per week support with all highest quality saaj and best research into Gurmat Sangeet as per puratan kirtan maryada. I know he is looking to set up learning platforms in US an CA in the future, and I would advise you come to the following music camp this summer, saaj will be supplied for practice and tution will be given, all in gurmat kirtan maryada, attendees will learn 3 shabad over 3 full days, cost will be really small for the whole period. You could speak to Prof Ji re a permanent sponsorship/learning programme. Please see below. http://rajacademy.com/page.php?page=sikhmusiccamps http://rajacademy.com/shop/products.php We can take things further once you have shown your serious interest and the youths devotion at the camp. The Academy's aim is to research, spread and share all the gurmat sangeet - Kirtan - saaj - raag vidya with as many people as possible so Guru Ji's gift can spread and be revived, and bring the power of hukmi kirtan back into the hands of the sangat and the Gurdwara darbaars. Vahe-Guru

http://www.rajacademy.com/forum/ If anyone is interested in learning about Gurmat Sangeet, kirtan, raag, Guru de saaj, please feel welcome to join the above forum to learn and share knowledge. Vahe-Guru

http://www.rajacademy.com/forum/ If anyone is interested in learning about Gurmat Sangeet, kirtan, raag, Guru de saaj, please feel welcome to join the above forum to learn and share knowledge. Vahe-Guru

Guru Saahiban Bhai Mardana Baba Budda Bhagat Ravidaas Pir Buddhu Shah Bhai Kanayai Sahihzadey Panj Pyare Maata Bhaag Kaur Bhai Manni Singh Baba Deep Singh Banda Singh Baba Gurbakhs Singh Sardar Jassa Singh Ramgharia and Aluvalia Baba Jodh Singh Ramgharia Baba Shaam Singh Baba Ram Singh Namdhari Baba Attar Singh Baba Nand Singh Baba Isher Singh (Rara Sahib) Baba Gurbachan Singh Bhagat Puran Singh pinglewarai Baba Puran Singh (Kritchuwalai) Baba Jarnail Singh Today, no one unfortunately........ But I am not sad, there are far more heroes, who's glorious gurmat lives wait to be discovered. Each and every action in their blessed lives is relevant to me today, and inspires as cannot be described... Guru Ji says: Page 951, Line 5 ਬਾਬਾਣੀਆ ਕਹਾਣੀਆ ਪੁਤ ਸਪੁਤ ਕਰੇਨਿ ॥ baabaanee-aa kahaanee-aa put saput karayn. The stories of one's ancestors make the children good children. Guru Amar Das Vahe-Guru

Rupz Ji, 1 - You have still not provided evidence to back up your 2 theories, please oblige. 2 - The thread is a ritual and does serve a spiritual purpose, it is an amulet, a charm, which is tied whilst reciting a mantar, it is not just tied by sisters, rishis, sadus, brahmans, sadhus etc.. tie a Raksha Bandaan to any who pay for one, it is a magic charm that is prepared over scriptures and tied with the objective of protecting the wearer. You shouldn't live so ignorently, Guru Gobind Singh has made us non conformists, the Dastaar represents a crown, showing that we show legiance only to truth and not man made things that contradict the truth (i.e. culture and ritual). We are to question everything, and study everything in our power. The Kara is worn because it is a hukum from Guru Gobind Singh, full stop. To compare a Rakhri to a Kakaar is stupidity and insulting. The Kara is a shastar and a handcuff to Guru's maryada, it represents Akaal, who is without beginning and without end, the same as the chakker in the Khanda. Singhs do not need magic protective threads, they have a kirpan and Guru Ji's protection. They love and protect to their sisters unconditionally, and not only their blood but all women irrelevant of background. Here, as you can't be bothered to research Rakhri, here is gentle push: Harpreet Singh Sat Aug 04 Since times immemorial, minorities all over the world have sought comfort through conformism. They have often adopted practices that are antithetical to their own beliefs. We need not go very far for examples. Guru Nanak, for instance, in the Asa Kee Vaar shows the conformism and resulting hypocrisy of Brahmins as they attempt to please their masters and maintain their caste hierarchy. ...They wear their loincloths, apply ritual frontal marks to their foreheads, and carry their rosaries, but they eat food with the Muslims. O Siblings of Destiny, you perform devotional worship indoors, but read the Islamic sacred texts, and adopt the Muslim way of life. Renounce your hypocrisy. Embrace the true Lord, and attain salvation. || 1 || The man-eaters say their prayers. Those who wield the knife wear the sacred thread around their necks . . . Wearing blue robes, they seek the approval of the Muslim rulers. Accepting bread from the Muslim rulers, they still worship the [Hindu] Puraanas. They eat the meat of the goats, killed after the Muslim prayers are read over them, but they do not allow anyone else to enter their kitchen areas. They draw lines around them, plastering the ground with cow-dung. The false come and sit within them. They cry out, "Do not touch our food, or it will be polluted!" But with their polluted bodies, they commit evil deeds. With filthy minds, they try to cleanse their mouths. Says Nanak, meditate on the True Lord. If you are pure, you will obtain the True Lord. || 2 || Raag Asa, M. 1, SGGS, p. 471-72 Clearly, conformism is unacceptable to Guru Nanak, who created a sovereign and a defiant race of human beings through his revolution. Unfortunately, some Sikhs today under the influence of Brahmanism have become conformists. As a compelling example, let's examine the festival of Rakhri that is celebrated today by many Sikhs who are ignorant of its significance. First, some historical background is in order. One of the two festivals celebrated during the bright fortnight during the Hindu month of Shravan is Raksha Bandhan, better known as Rakhri among Punjabi Hindus. It is a tradition with ancient roots. Bhavishya Purana refers to a fierce battle that raged between the gods and the demons. From news received from the battlefield it appeared that the demons were getting the upper hand and would gain victory. Indra, the supreme Hindu deity, summoned his teacher Vrihaspati to his court for advice. Indra's wife Indrani was also present. Before the teacher could speak, Indrani rose and said, "I know how to assure the victory of the gods. I give you my word that we will win." The next day was full moon night of the month Shravan. Indrani had a charm prepared as prescribed by the sacred texts and tied it on the wrist of her husband. And no sooner did Indra appear on the battlefield with the charm on his hand the demons scattered and fled. The demons bit the dust and the gods were victorious. It would appear that the Raksha Bandhan of today is derived from this belief. It is held that if a chord made according to the prescriptions of the holy texts is tied round the wrist of a person on the full moon day of Shravan it will ensure him good health, success and happiness for the year that follows. Rakhri has become a sacred festival for Hindus. Sisters tie amulets to brothers. Brahmin Priests tie them to the men of their congregations. Also on this day, it is noteworthy that the Brahmins change their sacred thread, janeoo, which Guru Nanak rejected at a young age because it symbolizes apartheid though its stratification of society. In Bombay, it is an occasion for Hindus for offering coconuts to the sea. Today Rakhri (literally meaning protection) has become popularized as an annual event in Hindu religion where sisters tie amulets to their brothers and seek the male's protection in exchange. The woman conducting aarti before her brother, a ritual Guru Nanak repudiates in the Kirtan Sohila, sometimes precedes the thread-tying ceremony. This is to the accompaniment of her enunciation or chanting of the following mantra in Sanskrit. Yena baddho balee raajaa daanavendro mahaabalah. Tena twaam anubadhnaami rakshey maa chala maa chala. "I am tying on your hand this Raksha, with which the most powerful and generous King Bali himself was bound; O Raksha, don't go away; don't go away." From a Sikh perspective, Rakhri is undoubtedly another expression of a patriarchal culture, however well intentioned. It is, after all, the brother who extends his protection to his sister, and the woman who agrees to place herself under the protection of her brother. She is devoid of power and must turn to a male for protection. While this is true in Hinduism, where the lawgiver Manu gives her a place next to animals, it is not the case in Sikhism. Guru Nanak, in his Asa Kee Var, raised the status of woman, making her equal to man long before Europe gave her the right to suffrage. Guru Amar Dass, the third Nanak, made her the head of entire congregations, giving her authority and power unknown even to the Occident at the time. Guru Gobind Singh, the tenth Nanak, gave her initiation of the Double-edged sword and made it mandatory for her to don a kirpan, an unlicensed arm asserting her sovereignty in a male-dominated world where the regime was willing to kill her for this defiant act. How do we reconcile the celebration of a festival so antithetical to Sikhism by Sikhs? Five hundred years of work by the Sikh Gurus to give women their basic human rights is undercut through such demeaning rituals imbued in Brahmanism. Does not the tenth Nanak declare: jab eh gahe bipran kee reet, mai na karoo in kee parteet? "When the Khalsa adopts Brahminical ways, it shall lose my trust." Guru Nanak demands complete sovereiThere is no room for conformism and compromises. Sikh wognty though actions. men worldwide should resolve to boycott festivals such as Rakhri that dilute the egalitarian message of Sikhism. What could be a better tribute that can be offered to our Ten Masters who fought to give women equal rights when the rest of the world turned a blind eye to oppression against them?

RUPZ Ji, Why would Guru Ji turn down the Janu protection from the respected Brahman priest of his village and family, to later accept a thread of protection from his sister? Our Guru's were not trapped by culture or hypocrisy, following hukum and truth is seen upon as narrow minded by some and holy by others. One painting done in the 1920s, as a figment of someones imagination does not constitute history. Before you go on to make any more claims, could yo uplease provide an historical reference for A - Guru Gobind Singhs Bhangra advice, and B Guru Nanak Dev Ji's willingness to pick and choose which holy threads were worth wearing. Read below. salok mehlaa 1. Shalok, First Mehl: ਦਇਆ ਕਪਾਹ ਸੰਤੋਖੁ ਸੂਤੁ ਜਤੁ ਗੰਢੀ ਸਤੁ ਵਟੁ ॥ da-i-aa kapaah santokh soot jat gandhee sat vat. Make compassion the cotton, contentment the thread, modesty the knot and truth the twist. ਏਹੁ ਜਨੇਊ ਜੀਅ ਕਾ ਹਈ ਤ ਪਾਡੇ ਘਤੁ ॥ ayhu janay-oo jee-a kaa ha-ee ta paaday ghat. This is the sacred thread of the soul; if you have it, then go ahead and put it on me. ਨਾ ਏਹੁ ਤੁਟੈ ਨ ਮਲੁ ਲਗੈ ਨਾ ਏਹੁ ਜਲੈ ਨ ਜਾਇ ॥ naa ayhu tutai na mal lagai naa ayhu jalai na jaa-ay. It does not break, it cannot be soiled by filth, it cannot be burnt, or lost. ਧੰਨੁ ਸੁ ਮਾਣਸ ਨਾਨਕਾ ਜੋ ਗਲਿ ਚਲੇ ਪਾਇ ॥ Dhan so maanas naankaa jo gal chalay paa-ay. Blessed are those mortal beings, O Nanak, who wear such a thread around their necks. ਚਉਕੜਿ ਮੁਲਿ ਅਣਾਇਆ ਬਹਿ ਚਉਕੈ ਪਾਇਆ ॥ cha-ukarh mul anaa-i-aa bahi cha-ukai paa-i-aa. You buy the thread for a few shells, and seated in your enclosure, you put it on. ਸਿਖਾ ਕੰਨਿ ਚੜਾਈਆ ਗੁਰੁ ਬ੍ਰਾਹਮਣੁ ਥਿਆ ॥ sikhaa kann charhaa-ee-aa gur baraahman thi-aa. Whispering instructions into others' ears, the Brahmin becomes a guru. ਓਹੁ ਮੁਆ ਓਹੁ ਝੜਿ ਪਇਆ ਵੇਤਗਾ ਗਇਆ ॥੧॥ oh mu-aa oh jharh pa-i-aa vaytgaa ga-i-aa. ||1|| But he dies, and the sacred thread falls away, and the soul departs without it. ||1||

Please see the web page http://rajacademy.com/page.php?page=sikhmusiccamps Sikh Music Camps - Summer 2006 Instruments provided, to all attendants, free of charge. Exclusive focus on stringed instruments of the Sikhs, and traditional vocal styles. Treat yourself to a musical experience you'll never forget! Raj Acacdemy's Sikh Music camps are dedicated to the promotion of Gurmat Sangeet based on the title Rāg, and in its traditional form using stringed instruments of the Sikhs and traditional vocal styles of Gurmat Sangeet. Camp Highlights: Special themes to make each day exciting. Instruments provided, to all attendants, free of charge. Hands on workshops on playing Rabab, Dilruba, Sarangi, Saranda, Taus & Pakhawaj. Insightful lectures on Rāg, Shabad and Sikh Music traditions. Introductory training in the various vocal styles of Gurmat Sangeet. Focus: Our 3 day camps are a combination of hands on workshops and lectures. The hands on workshops focus on the following: Teaching attendants to sing three shabads in Rāg Asa, and Bilawal on a stringed instrument of their choice. Providing training in proper techniques for playing stringed instruments. Lectures foucs on the following topics: Basics of Sikh Music (vocal and instrumental). Traditional Sikh Music and its significance in Sikhism Time: 9:00 AM - 5:00 PM 2006 Venues: Thames Valley Universtiy, Slough, Berkshire, UK (July 14, 15 and 16) Houston, TX, USA (August 2, 3 and 4) Montreal, PQ, Canada (August 10, 11 and 12) Toronto, ON, Canada (August 18, 19 and 20) Washington, DC, USA. Camp One (August 21, 22 and 23) Washington, DC, USA. Camp Two (August 24, 25 and 26)

The original question was based on the Sri Guru Granth Sahib Ji, To clarify: Timing of raags has nothing what so ever to do with Gurbani. It has however evolved as part of the Indian Musical system, but our Guru's were above this. Bani is for man to sing when he needs to, when his soul demands, not restricted to certain times of days, there is not even 1 piece of evidence that exists to prove our Guru's practiced timings. It goes against all common sense. None of the puratan texts from which the raag system started mention timings - i.e. the Sam Veda (Wisdom of Music) and the famous Natya Shastra, both of whcih are thousands of years old. The timing concept only started from the 11th century when music was becoming widespread and more and more scholars were studying and theorising. By the time dhan Guru Nanak Dev Ji graced us, music was being used for entertainment of man, rather than devotion of God as it had been for hundreds of years, this was largley due to the Mughal Courts. Bhai Mardhana the great Musicologist used to entertain man, until he met Guru Ji, from which point he solely used his skills under Guru Ji's guidance and instruction (raag) to praise Vahe-Guru and capture peoples minds and souls in the name of truth. We need to be careful to keep evolving Indian Music seprate from timeless kirtan and correct puratan usage of raags. Vahe-Guru

Sorry, I replied to a very earlier posting.... much more has been spoken of since, so the above kind of still applies. There is a possibilty that the Sikh sources quoted by veer Javanmard may have taken the Persian sources as their points of reference. We need to cross check both against each other for similarities (dates etc) to establish if this is true. Not to mention, that only the Mughal sources had actually written history concerning these claims, so the Sikh scholars of latter days would have refered to the only written sources available. Possible, just my opinion, not fact based. Vahe-Guru.

The same source quoted by veer Javanmard also gives this instruction written by Banda Singh: Deg O Teg O Fateh o nusrat bedirang Yaft Az Nanak Guru Gobind Singh The kettle and the sword (Symbols of charity and power), victory and blessing have been obtained from Guru Nanak-Gobind Singh. God is one! Victory to the Presence!! This is the order of Sri Sachcha Sahib (The great master) to the entire Khalsa. The Guru will protect you. Call upon the Guru's name. Your lives will be fruitful!. You are the Khalsa of the great immortal God. On seeing this letter, repair to the presence, wearing five arms. Observe the rules of conduct laid down for the Khalsa. Do not use Bhang, tobocco, Poppy, wine, or any other intoxicant...Commit no theft or adultery. We have brought Satyug (the golden age) Love one another. This is my wish. He who lives according to the rules of Khalsa shall be saved by the Guru. Secondly, although I have not researched this topic, it does seem common sense to not quote the enemies version of history without providing a countering neutral or positvely biased source. As we all know, propoganda has existed as a powerful tool in war for hundreds if not thousands of years. This allegation (murdering innocents) seems no different to allegations of WMD made by US to justify their middle east dominance. The enemy were terrified (see below), the men in power needed a different mechanism of giving their soldiers courage, nothing works better than the abuse of women and children. I think that the topic should be stuck to, which is these allegations, whether Banda Singh acted independantly of the panth is another issue. To cover 2 points (1 of forceful conversion and the other of reasons for propoganda (lies) - please read teh following: "The wretched Nanak-worshipper (Banda Singh) had his camp in the town of Kalanaur (District Gurdaspur). He has promised and proclaimed: "I do not oppress the Muslims." Any muslim who approaches him, he fixes a daily allowance and wage, and looks after him. He has permitted them to recite khutba and namaz. As such five thousand Muslim have gathered round him. The massive imperial force drove the Sikhs from Sirhind and other places to take shelter in the fort of Lohgarh in the hilly region. "It is impossible for me," says Khafi Khan a muslim historian of that time, "to describe the fight which followed. The Sikhs in ther faqir's dress struck terror into the hearts of the royal troops. The number of casualties among the latter was so large that for a time it appeared as if they were going to lose." Vahe-Guru

afkas, The Guru Granth Sahib is not a lie, nor is are Bhai Nand Ji's rehitnamas. Rupz, That Sakhi is nearly as good a false justification for anti-gurmat activity as one I heard from a friend a few years who's Mama told him the Sri Guru Granth Sahib Ji said it was ok to drink sensibly on special occassions. Dancing is not a big mystery. Just look at Gursikh role models over the years, not one danced, but they all sang, Kirtan. Our Guru's were not trapped by culture, bhangra is culture as are non-gurmat songs, none will stand the test of time, all will evolve as all cultural things have always done and will always will do. Only Bani is Akaal.

Back to my 1st post. Why listen to the songs of people, when you can listen to the songs of Wahe-Guru. This is what it comes down to. Our Guru's and Mahapurkh have lead by example. Those who want to guidance and mukti will go to Guru ji, not to a bhangra gig. No one in todays day and age is that ignorent or unresourceful that they can not find Guru Ji. I revert to Guru Ji's words and those of Guru Gobind Singhs disciple: REHAT thriyaa raag sunehi chith laae || sunahu laal so jamapur jaae ||17|| Those who listen to dirty lyrics and lustful tunes with attention, listen Nand Lal Jee, they will be punished by the angel of death.; Rehatnama Bhai Nand Laal Jee GURBANI maerae mohan sravanee eih n sunaaeae || saakath geeth naadh dhhun gaavath bolath bol ajaaeae ||1|| rehaao || O my fascinating Lord, may I never listen to the faithless cynic, singing his songs and tunes, and chanting his useless words. ||1||Pause|| Page 820 Guru Arjan Dev Jee Raag Bilaaval No amount of justification will ever be able to argue with bani and rehit. Bani and Rehit have deep messages and answers in them, ones we can only feel and understand when we submit. Vahe-Guru

Veer Ji, my whole reply was in response to your post, not just the one sentence selected by yourself.

Mind Over Music Uknown Stage-fright or performance anxiety has long been a subject not openly discussed by performing musicians. While a mild level of performance anxiety is perfectly normal when one is called upon to perform in public, many people suffer from a much higher level of fear and dread and it can be a problem that escalates to the use of drugs or alcohol to quell performance fears. The symptoms of performance anxiety are shaking or trembling hands, stiff muscles, uncontrollable racing thoughts, lack of self confidence and anxiety about people’s verdicts on their performance. A majority of artists even suffer from flashbacks of bad performances. There are many ways to combat this problem; many musicians fail to warm up before a performance or pay attention to diet and fluid intake. Visualisation and grounding techniques are also essential in getting the body to re-programme its anxiety symptoms. When trying to understand anxiety it is important to realise that a human being is not able to distinguish between real danger and imagined danger. An animal in the wild facing danger must make a split decision whether to fight or flee. This is based on a subconscious, instinctive level in the brain. Immediately there is an enormous increase in the amount of blood being pumped into the arms and legs. All other activity not connected to the situation, for example the body’s digestive system, stops until a decision has been reached. If it is not possible either to fight or flee, the body will stiffen. If the prey succeeds in escaping it will afterwards shake like a jelly and that results in the nervous system falling back into place. Adrenaline accumulation will return to normal and the body’s organs will function normally again. If we relate this to musicians, a rapid heartbeat is a sign that the pulse and blood pressure are rising and blood is being pumped out into the main muscle groups, where there is most need for energy. Breathing becomes faster to increase oxygen to the blood. The side-effects are shallow breathing, a choking feeling, dizziness and an increase in sweat production. All the physical symptoms can be simply related to the way the body copes with real danger. The body has a brilliant ability to survive danger. In a life threatening situation the brain makes a snapshot photo and stores it. This is a fantastic survival mechanism when faced with snakes and lions but a liability when faced with a difficult tana or tihai. It is vitally important that the problem is treated otherwise it will continue to spiral until out of control. If the body does not go though the process of shaking its nervous system back into balance, the same thing will recur over and over again when facing a similar situation. Old negative experiences must be removed before beginning work on becoming mentally strong. You must therefore identify the causes of your anxiety when on stage or the concert platform. These techniques also require practice, and are certainly not a quick fix. A musician must empower themselves, and configure their minds, to have control over their thoughts before and during a performance. Remember that a performance goes beyond the technicality of the music; the composure and disposition of the artist plays a large role in the success of a performance. This is especially true of Indian music, where the Raag must be felt through the musician’s soul. If he is tense or agitated, it is highly unlikely that the raag is having any effect, and it is therefore not going to do anything for the audience either. It is possible to gain control over anxiety. In a stressful situation respiration will stop momentarily and then be placed high in the thorax. But it is possible to send a signal that ‘there is no danger here’ by learning how to breathe deeply. You must also learn to make yourself ‘grounded’, which means being secure and able in your beliefs in yourself. If properly grounded you cannot go into panic. If you are constantly in negative critical dialogue such as ‘I am not good enough’ or ‘I will make a fool of myself’ you create your own anxiety. Most people are unaware of this constant self-devaluation and few are aware that this is the cause of the majority of cases of stage-fright. When you have the imagination to create stage-fright, that same imagination can be transformed into creating a picture of yourself as a winner. If you can create a picture of yourself as a loser, you certainly have the ability to see yourself as a winner. In order to achieve that you have to become aware of your automatic thought patterns and learn how to change them. Visualise precisely how you want to play and in which state of mind and at which energy level you want to do it. Use the raag you are playing to your advantage and beyond the performance. Log into the emotion and the energy you want to share with your audience and use it to help you ground yourself and lose the negative thoughts. The sports word has used these techniques for years, as it is the mentally strong who go on to win. Working daily on visualisation, telling your brain exactly what you want from it and telling the body what you expect from it in a positive way is exactly what people who suffer from performance anxiety are already doing, but the wrong way round. Re-programme your negative thoughts and expectations with positive ones. Go to the stage with a feeling that you have something to share, and that energy and expectation will also be generated among the audience. By building a bridge of positive energy and expectation between you and your audience, you have the ingredients to achieve a peak performance and give your audience an unforgettable experience. Top ten tips for reducing performance anxiety: Allow and accept whatever fearful feelings and body sensations you have without trying to fight or run from the fear. Your fear will pass more easily when you are not frightened by it. Focus on calming and grounding yourself by slow and gentle deep breathing and allow your breath to relax your mind and body. Also focus on thoughts and images that are relaxing and uplifting. Try to stay connected to the reality of what is going on around you in the present moment by listening closely to others and paying attention to your surroundings. Use positive, supportive, encouraging self-talk. Speak to yourself as your greatest supporter and ally, especially at the most difficult moments. Think about past successes and connect with all of your strengths and abilities that have allowed you to face other life challenges. Draw upon that reservoir of strength within you. Practice healthy lifestyle habits (such as healthy eating, exercising, and getting adequate sleep) so you can feel at your best before a performance. Think about and do things that help create a lighthearted, joyful spirit and don’t take yourself so seriously. Prepare ahead of time when possible and be well-practiced and rehearsed so you feel more comfortable with your material. When improvising, rely on trusting in your experience, fund of knowledge, intelligence, and resourcefulness and don’t second-guess yourself. Create a self-assured, confident attitude and body posture even when you are not feeling this way. “Act as if†you were someone who was self-assured and confident with speaking or performing and model this person’s attitude and body language. Focus on your true purpose for speaking or performing and let go of self-preoccupation about your worries and fears. Make a true, human connection with others in your audience and see people for who they really are, rather than as your judges or critics. Give up trying to be perfect and know it is okay to be human and to make mistakes. Stop comparing yourself to others, or to some ideal standard, and allow your imperfect natural self to come forward. Article from Muso magazine. Edited by Amanroop Kaur Surdhar

Discordant Notes Amardeep Singh, Singapore In the letter “The Message is Mixed but the Intentions are Goodâ€, Dya Singh states “We are strong advocates of raag but we are also strong advocates of originality and also 'popularity' –“ However, I am not clear if the intent of ORIGINALITY of their group is expected to be from within the musical framework of Gurbani Keertan Maryada or from outside. Any person well versed with music can easily explain with help of mathematics that there can be many permutations and combinations of Bandhishs (compositions) from within a single Raag. And also Raag music does not necessarily mean a composition of highly complex tune or beat. Raags can be very simple too….so simple that even Bollywood can’t resist using them in movies (like O Duniya Key Rakhvaaley) or Raag Aasa by Naushad. I therefore fail to understand why we can’t explore originality from within the prescribed musical framework of Guru Granth Sahib. I can assure you that a whole life-time can be spent in such exploration work and still much would be left to achieve. The outcome would surely be many tunes that even the Sangat with an ear for less classical compositions can appreciate. All this can be easily achieved within the prescribed musical framework of Guru Granth Sahib. “POPULARITY†which is also mentioned as another core value, is relative and subjective. “POPULARITY†lies in the hands of advocates. Let me explain this further. There was a time when only string instruments were POPULAR for Keertan accompaniment. But the lack of dedication of Raagis to learn string instruments and their selfish desire to quickly become professionals has lead to a Harmonium replacing the Tatti Saaj (String instruments). And today, if Keertan is done is Tatti Saaj, it would sound very weird to the ears. Harmonium is not a very suitable instrument for Indian classical music but the irony is that today it is the most POPULAR Keertan accompaniment. Doesn’t this prove that POPULARITY lies in the hands of advocates. If original Keertan Maryada is restored in Gurudwaras across the world, then I can assure you that within a period of 10 years the ship can be steered back to its course. Unfortunately, this can’t happen till we rise above materialism. Let not the excuse of ORIGINALITY and POPULARITY over-shadow our short comings to whole-heartedly dedicate ourselves to preservation of original Keertan Maryada. I request groups like “Dya Singh Australian World Music Group†to become leaders in exploring ORIGINALITY from within the musical framework of Guru Granth Sahib and making Gurbani Keertan POPULAR amongst the masses. It is definitely not easy to undo last 70 years of deterioration, but then its responsibility lies with the ones well versed with Music and Gurbani Maryada. Should we not collectively catch the bull by the horns and strive towards correction, I fear the youth will keep saying “……..;Kuch Kuch hota Hai†(“……..something-something happens†from a popular Hindi movie song) and never move on to saying that Listening to Keertan, Subh Kuch hota Hai†(“Listening to Keertan, Everything transformsâ€).

I am not a "Raag" know it all, but in the context of Sikhi (not Indian Classical) I can give you some thoughts. Rang has been commonly refered to describe emotion, both in Vedic time period and our Guru Sahibans. There are not actually physical colours associated with raag, but there are certainly emotions. For those of you who read Sri Guru Granth Sahib Ji, you will notice a common theme (feeling) in each chapter, all the shabads within that chapter, irrelevent of the author (Guru Ji or Bhagat), invoke the same feeling when read, but especially when sung. For instance the angs in Suhi, invoke a feeling of deep love, romance, longing, .. associated with Akaal Purkh. Bhairow for instance invokes extremem devotion.. etc There are number of places to gain the info regarding the emotions, they are pretty consistent with Indian Classical, but we must always refer to Bani in teh 1st and last instance to prove the mood. Timings have nothing to do with Sikhi. This is Hindu/Indian Classical concept that has been absorbed by some Raagis of today who have been influenced by Indian Classical (whichi is most of them). The great ex-Hazoori Nihang Raagi Bhai Balbir Singh replied when asked what time should raags be sung, replied "what time should one be happy, what time should one be sad or angry". Sikhi is a faith of common sense, timings have a mythical source. There are some shabads which are sung at certain times i.e. Asa di Vaar, but this was done for a practical reason, not mythical one. Jassa Singh Aluvalia used to sing Asa di Vaar every morning to induce confidence, determintaion and bravery in his soldiers at the start of the day. The most researched and most comprehensive data i have found on SIKH raaga and musicology (how to apply that emotion to the shabad, it's not simply a matter of using the set notes), is the book provided in the Mere Mun CD Set. This contains 59 shabads which have been sung in every raag in Bani par 1, and contains details of the raag, researched in s Sikh context. This is a treasure as all the instruments used are also of SIKH originb only, all the Guru's inventions. The compositions, the dynamics and emotion in the emotion portrayed in the raag are amazing.. The below link gives details and allows you to listen to samples. http://www.rajacademy.com/shop/product_det...php?item_id=117 Vahe-Guru

Could you tell me what Bhai Sahib charges to teach and how much the instruments cost.

Veer Ji, Whats the next step. Enticing youth into Gurdwara... by having bhangra parties in darbaar? There has been no need to compromise Sikhi for the last 500 years, why do we need to start now? Have we lost faith in our Guru? It is Wahe-Guru's kirpa, and his servants who live according to his hukum that spread his word and help change peoples lives ... i.e. Baba Jarnail Singh, Baba Puran Singh, Baba Isher Singh (Rara Sahib), Baba Nand Singh Ji, Baba Attar Singh Ji, these Mahapurkh and many, many unknown Gursikh, have lived in Guru's will and inspired millions. Having Bhangra on a "Sikh" forum is not even a drop in an ocean, in fact it's positively insulting for todays bhangra and what is associated with it to be promoted and enjoyed under the banner of Sikhi. I am more interested in youth (from all backgrounds, white, chinese, black), coming to "SIKH" forums and being inspired rather than disgusted. I know white Sikhs that think Punjabis have lost the plot and diseased and blinded by culture. Know body is judging anyone as you keep trying to suggest, the point again is simple. The world has become forgetful to Sikhi and have forgotten what a sacred word Sikh is and all that it represents. As children of our father Guru Gobind Singh Ji, we have a duty to uphold his honour and his Sikhi, this is not done by having bhangra on a forum that people would ever visit for the 1st time with the aim of learning about SIKHISM. I understand where yo uare coming from, but the truth is this is simply a case of us thinking that we have the plan, the intellect and the wsidom to help the youth, when in fact the only wisdom to be had for the last 500 years has been from following our Guru and living according to his will. It is those diamonds that have kept Sikhi alive, not those with their own ideas, Gurmat not Manmat. Vahe-Guru

Making of an Alaap Prof. Surinder Singh The purpose of including an alaap in a composition is for the singer to set the scene for the composition itself. In order to tell a story, the storyteller is required to set the scene for the listener, the point being to engage the listener emotionally and mentally to listen to their story. The alaap also serves this purpose; to prepare the listener to receive the emotions and the story from the singer. Suspense is also being built up through the alaap for the listener. In order to create an Alaap it is essential to distinguish what Raag is to be performed. Every Raag is unique and has its own characteristics. First of all it is crucial to know which notes are allowed to be used: Aroh – ascending notes Avroh – descending notes Next its important to get the five key notes: Vadi – 1st Samvadi – 2nd Niyas – 3rd Anuvadi – 4th Vivadi – 5th & note to be aware of (Listed in-order of precedence) In all Alaap compositions, SA(Madh Saptak) considered a very important note and therefore must be established reasonably quickly. SA can’t be directly established and has to be approached from either the vadi or samvadi or niyas or anuvadi, provided that it is not past SA and it is also close to SA. Not forgetting precedence is to be given to the more important note but never starting from vivadi. So the note from where the Alaap is to start up to SA, is considered the Initial Range. The vivadi is also an important note that must be used but too much emphasis on this note will change the Raag. Only the notes in the Initial Range before SA are to be used in an array of combinations and only pausing on the first four important notes (provided they are in the Initial Range). A suspense(s) is to be created and then finally approaching SA. Thus SA has been established again the SA is to be established quite quickly. The next note to be approached and established is either the vadi, samvadi, niyas & anuvadi depending on which is closest to SA up the Madh Saptak. Now the Alaap is in full blow and the performer can spend as long as the performer likes in creating the suspense, before establishing the note. This way, another important note up the Saptak is established; therefore all four notes are established in the Mandhir Saptak. The same is repeated in the Tar Saptak. This process of establishing the important notes and thus revealing the Raag step by step is known as a Barat. Finally the Alaap must end on the most important note in all Raags, that is the Madh Saptak SA. Thus the Alaap is complete and the composition in this case a Shabad is then performed. Raag Gauri Purbi example: The Indian music scale consists of three octaves: Mandar (low), Madh (middle) and Tar (high) saptak. The notes are divided into three categories: Shuda (normal), komal (flat) and tivra. Raag Gauri Purbi consists of two komal notes (R and D), and tivra and shuddha M. Within this raag, there are four key notes; the first most important is R (Wadi), the second most important is P (Samwadi), the third most important is N (Niyaas) and the fourth most important is S (Anuwadi). There is an additional fifth note known as the viwadhi, which in this case is the D. This note is used in balance within the raag itself. Too much or too little emphasis upon this note can change the entire raag. Therefore, it is vital to be careful about the use of this note. The scale for Raag Gauri Purbi is below (from low to high scale): STEPS TO COMPOSE: In order to compose an alaap for this raag, it is crucial to initially establish the S. The closest most important note to S in this raag is P (second most important note closest to S, lower octave). Therefore, in order to establish the S, the singer would normally start from P (lower octave) and work their way up to S using a variety of combinations with the notes in between (see diagram box 1). Once the S has been established, the singer is then required to establish the first, second, third and fourth important notes respectively. For example, in order to establish R, the singer can use all the relevant notes from P (lower octave) to R (middle octave). Similarly, the singer would work their way up the scale using a variety of relevant notes and combinations to establish the rest of the important notes (see diagram boxes 2 – 4). Once the full alaap has been established, the singer can then proceed to telling the story through the Shabad.

Prof. Surinder Singh Introduction Majha is a region in the state of Punjab in India. Punjab was and even today is divided into three different regions: Majha, Malwa and Duaaba. As with all countries; states and regions develop their own traditions, characteristics and reputations depending on their geographic surroundings, economy etc. The Majhail’s (People of Majha) were famous for their strong build and their hard working attitude because they worked in the army or very far from their homes in farms. A familiar example of this is the U.K (Scotland, Wales, Ireland and England), although part of the same country, they all have very different and varying traditions. In Gurmatt Sangeet, there are many examples of the Sikh Guru’s using traditions already ingrained in peoples minds, to explain their message. An example of this is Aunsian. Aunsian Raag majh is based on aunsian. A rural tradition of waiting for a loved one and the hope and extreme pain or loneliness, felt while waiting. The western form of ausain is the picking off of flower petals one by one and is commonly known as “He loves me, He loves me notâ€. Drawing a row of lines on the floor and striking them out alternately rather then picking off petals plays Ausain. Both these games symbolize the hope and pain of meeting your loved one who you are so desperate to meet. They also represent the anxiety that comes with not knowing the outcome and the uncertainty of whether your loved one will come or not. Even if the outcome is negative, the loved one is so dear to you that you will not feel anger but the longing to meet will become stronger and will make the relationship more close and dear. Creation and Authorship of Raag Majh Raag Majh is only found in Sahib Guru Granth Sahib ji and there is no evidence of Majh in any other old Granth or shasteras. That makes this raag unique and shows that it is the creation of the greatest maestro ever, Sahib Guru Arjun Dev ji. Guru Arjun Dev ji, the younger son of the fourth Guru, Guru Ram Dass Ji was sent to Majha by his father, to attend a wedding. Guru ji was told that he would be given an order from his father, when he was to return. Guru ji had never left his family and father for such a long time before, and began to grow more and more anxious to come back. Guru Arjun ji was very creative from his early age and the Majha’s Aunsian tradition was very compelling to him. The longing to meet his great Guru and father was so great that he wrote three letters to his father. These letters contained the pain of separation and the anticipation, hope and joy of meeting. Those poetic messages become the first bani of Guru Arjun ji to meet Akal Purkh (GOD), and are under the heading of Raag Majh in Guru Granth Sahib ji. In Guru Granth Sahib ji, Guru Arjun ji uses the emotions of pain, loneliness and expectation present in Raag Majh and aunsian to help the soul cry out to the mind in order to build an urge to meet beloved God. Guru Arjun ji used the feelings felt toward his father and Guru to explain the relationship that everyone has toward God. To make this relationship easier to understand Guru ji’s bani contains words like Father, Mother, Brother and Friend. This encourages us to examine our everyday relationships as an example to understand how to get close to Akaal Purkh. Terminology Aroh: SA RE, MA PA, NE SA Avroh: SA NE DHA PA, DHA MA GA MA, RE PA GA RE GA, SA RE NE SA Mukh Aung (Chalan): PA, DHA MA PA, GA MA, RE PA, MA GA, RE GA SA RE , NE SA Wadi: RE & Samwadi: PA Musicology with Examples Wadi Re (thought) and samwadi Pa work in coalition in Raag Majh by Pa giving tremendous power and support to wadi Re. Raag Majh contains both Ga’s and Ne’s, which are extreme surs of highlighting a situation/subject and balancing it. These keys are capable of giving a powerful boost to the main mood of the raag, as is seen in the chalan (pattern/style) of the raag. The feelings of certainty and at the same time uncertainty when coming back in the avroh creates the pain and loneliness of raag Majh. After going to tar saptaks Sa the rule is to come back to Ne of madh saptak which makes the nature of the raag the same as the previous example of , “He loves me, He loves me notâ€. The chalan of the raag will create a mood of extreme fragility because of the feeling of great pain due to loneliness and at the same time the hope felt, to meet again. An example: A mother is waiting to see her son who she has not seen in the past 20 years and nor has she heard from him. Now and then, she hears from other travelers that they have seen him that he is fine and well and will be coming home soon. Everyday, her eyes are constantly on the door in anticipation and every time she hears someone passing, she runs outside, hoping to find he has come home. Although the waiting is painful, she is not angry and she does not hate him because he is part of her. The days pass slowly but she is filled with new energy at the end of the day, with the hope of seeing him tomorrow. She will never give up, and when one day she sees him, the pain will be a thing of past. Guru ji gives us examples in the shabad to make relations with God; O mind, learn from this mother and wait and look for the truth of this universe. Study of Composition/Translation Now we shall discuss the shabad and its translation in relation to its mood. mwJ mhlw 5 ] Majh Mahla 5 The author of this shabad is 5th Guru, Guru Arjun Dev ji and this text contains the mood of Raag Majh qUM myrw ipqw qUMhY myrw mwqw ] qUM myrw bMDpu qUM myrw BRwqw ] qUM myrw rwKw sBnI QweI qw Bau kyhw kwVw jIau] 1 ] Tu maira pita tu hai maira maata, tu maira bundhap tu maiera bharata. Tu maira rakha sabhani thaee, ta bhow kaiha kara jio (1). Guru’s soul is talking to his mind about the God who cares like a father and loves like a mother, a best friend and like a brother who you can always rely on. God keeps us safe in all situations, O mind and when we meet the truth there is no fear and worry left. The God who is truth but the truth we are far from. qumrI ik®pw qy quDu pCwxw ] qUM myrI Et qUMhY myrw mwxw ] quJ ibnu dUjw Avru n koeI sBu qyrw Kylu AKwVw jIau ] 2 ] Tumari kirpa tai tudh pachhana, tu mairee oat tu hai maira maana. Tujh bin dooja avar nna koee, sabh tiara khail akhara jio (2). With God’s grace you (mind) and me(soul) found each other and without each other, we are not complete. This is one of reasons why I am always focusing on truth. This truth is everything to us and will give us a respectful place. We look towards God’s kind grace, but this is also God’s way to test our relationship with the truth. Soul is reassuring the mind by talking about God’s greatness, just like when we love someone we always talk about them fondly. jIA jMq siB quDu aupwey ] ijqu ijqu Bwxw iqqu iqqu lwey ] sB ikCu kIqw qyrw hovY nwhI ikCu AswVw jIau ] 3 ] Jee Junt sabh tudh upaai, jit jit bhana tit tit laai. Sabh kichh keeta tiara howai nahee kichh assara jio (3). O mind, all this universe is created by God, who is the truth. Everything is in its place according to God’s will. Everything is in Almighty’s hand and we are helpless. Everything small to large, living or dead is the creation of God. God has given us a role to play in this life and we act on his script. We in our self, even do not exist. nwmu iDAwie mhw suKu pwieAw ] hir gux gwie myrw mnu sIqlwieAw] guir pUrY vjIvwDweI nwnk ijqw ibKwVw jIau] 4 ] 24 ] 31 ] Naam Dhiayai maha(n) Sukh Paya, Har Gun Gaayai maira Man Seetlaya. Gur Poorai Wajee Wadhaee, Nanak jita Bikara Jio (4). If there is a will to do or meet, we will try our best to achieve it, and by God’s grace the result will be sweet and fruitful. Soul is telling Mind, never forget truth and your relation to that truth because it is the only true happiness. Soul tells mind, imagine when we go together to see God, all our sufferings will die and with his grace we will overcome life and death forever.